英美詩(shī)歌鑒賞第5頁(yè)共5頁(yè)1.BlankFilling:FiguresofSpeech,commonknowledge(10points)（填空：1—8根據(jù)老師所給詩(shī)句所運(yùn)用的修辭填空。）(1)Personification(擬人)(2)Metaphor（暗喻）(3)Parallelism（排比）(4)Anaphora(Repetition)（反復(fù)）(5)Simile（明喻）(6)Paradox（矛盾）(7)Hyperbole（夸張）(8)Metonymy（轉(zhuǎn)喻）(9)FatherofEnglishLiterature（英語(yǔ)文學(xué)之父）：GeoffreyChaucer（杰弗雷·喬叟）TheCanterburyTales（坎特伯雷故事集）ThefirsttenantofthePoets’Corner英語(yǔ)最早使用Iambicpentameter(10)WestminsterAbbey,Poets’Corner（詩(shī)人角）：威斯敏斯特大教堂：（其中著名的“詩(shī)人角”就位于教堂中央往南的甬道上。在這兒長(zhǎng)眠著許多著名的詩(shī)人和小說(shuō)家。如英國(guó)14世紀(jì)的“詩(shī)圣”喬叟，就安葬于此。陵墓周?chē)€有一扇專(zhuān)門(mén)的“紀(jì)念窗”，上面描繪著他的名作《坎特伯雷故事集》里的情景。伴他長(zhǎng)眠的有丁尼生和布朗寧，他倆都是名噪一時(shí)的大詩(shī)人。著名的小說(shuō)家哈代和1907年諾貝爾文學(xué)獎(jiǎng)獲得者吉卜林也葬在這里?！霸?shī)人角”中央，并排埋葬著德國(guó)著名的作曲家亨德?tīng)柡?9世紀(jì)最杰出的現(xiàn)實(shí)主義作家狄更斯。還有些文學(xué)家死后雖葬身別處，但在這里仍為他們豎碑立傳，如著名的《失樂(lè)園》的作者彌爾頓和蘇格蘭詩(shī)人彭斯，就享受著這種榮耀。）LondonAlfred,LordTennyson（丁尼生）RobertBrowning（布朗寧）RudyardKipling（吉普林）(11)Beowulf（《貝奧武夫》）：《貝奧武夫》（Beowulf）一譯貝奧武甫。完成于公元九世紀(jì)的英雄敘事長(zhǎng)詩(shī)。全詩(shī)凡3182行，以斯堪的納維亞（Scandinavia）的英雄貝奧武夫（Beowulf）的英勇事跡構(gòu)成主要內(nèi)容。雖然歷史上并未證實(shí)確有貝奧武夫其人，但詩(shī)中所提及的許多其他人物與事跡卻得到印證。本詩(shī)以西撒克斯（Wessex）方言寫(xiě)成，押頭韻而不押尾韻，用雙字隱喻而不用明喻。是現(xiàn)存古英語(yǔ)文學(xué)中最古老的作品，也是歐洲最早的方言史詩(shī)。在語(yǔ)言學(xué)方面也是相當(dāng)珍貴的文獻(xiàn)。Epic（史詩(shī)）(12)PoetLaureate（桂冠詩(shī)人）:Alfred,LordTennyson（阿爾弗雷德·丁尼生）WilliamWordsworth（華茲華斯）(13)FirstNobelPrizewinner:（第一位諾貝爾文學(xué)獎(jiǎng)獲得者）:RudyardKipling（吉普林）詩(shī)歌作品：<If>2.Matching:PoetsandTheirWorks(20points)（連線）（1）WilliamShakespeare(莎士比亞):Sonnet130Sonnet18（2）EdmundSpenser（斯賓塞）：Sonnet75（3）JohnDonne（多恩）：DeathBeNotProudAValedictionForbiddingMouringSONGTheFleaTheBaitMeditation17（4）WilliamWordsworth（華茲華斯）：IWANDEREDLonelyasaCloudTheSolitaryReaper（5）JohnKeats（濟(jì)慈）：OdetoaNightingale（6）Alfred,LordTennyson（阿爾弗雷德·丁尼生，桂冠詩(shī)人）：Ulysses（7）RobertBrowning（羅伯特·布朗寧）：MyLastDuchess（8）RudyardKipling（吉普林）：If（9）SeamusHeaney（謝默斯·希尼）：Digging（10）RalphWaldoEmerson(拉爾夫·沃爾多·愛(ài)默生)：TheRhodoraTheChartist’sComplaint（11）WaltWhitman（惠特曼）：OCAPTAIN!MyCaptain!OME!Olife!IHearAmericaSingingWhenIHeardtheLearn’dAstronomerSunatSunset（12）EmilyDickinson（艾米麗·迪金森）：BecauseICouldNotStopforDeathItWasNotDeathForIStoodUp、（13）RobertFrost（羅伯特·弗羅斯）：TheRoadNotTakenMendingWall（14）LangstonHughes（藍(lán)斯頓·休斯）:TheNegroSpeaksofRiversLetAmericaBeAmericaAgain（15）CounteeCullen():YetDoIMarvel（16）ClaudeMcKay（）：TheHarlemDancer（17）RobertHaydon（）：ThoseWinterSundays（18）AllenGinsberg's（艾倫·金斯堡）:Howl（19）ChristopherMarlowe(克利斯托弗·馬洛):ThePassionateShapherdtoHisLove3.Cloze(10points)(完形填空)：根據(jù)老師所給詩(shī)句，根據(jù)格律韻腳，找到合適的詩(shī)句填空。4.TermsandDefinitions(10points)（名詞解釋?zhuān)?1)Iambicpentameter（五音步抑揚(yáng)格）：isacommonlyused\o"Line(poetry)"metricallineintraditional\o"Poetry"verseand\o"Versedrama"versedrama.Thetermdescribestheparticularrhythmthatthewordsestablishinthatline.Thatrhythmismeasuredinsmallgroupsofsyllables;thesesmallgroupsofsyllablesarecalled"\o"Foot(poetry)"feet".Theword"\o"Iamb(foot)"iambic"describesthetypeoffootthatisused(inEnglish,anunstressedsyllablefollowedbyastressedsyllable).Theword"pentameter"indicatesthatalinehasfiveofthese"feet."Iambicrhythmscomerelativelynaturallyin\o"EnglishLanguage"English.IambicpentameteristhemostcommonmeterinEnglishpoetry;itisusedinmanyofthemajorEnglish\o"Poeticform"poeticforms,including\o"Blankverse"blankverse,the\o"Heroiccouplet"heroiccouplet,andsomeofthetraditionalrhymedstanzaforms.\o"WilliamShakespeare"WilliamShakespeareusediambicpentameterinhisplaysand\o"Sonnet"sonnets.(2)Sonnet（十四行詩(shī)）：Alyricpoemconsistingofasinglestanzaoffourteeniambicpentameterlineslinkedbyanintricaterhymescheme.TherearetwomajorpatternsofrhymeinsonnetswrittenintheEnglishlanguage:(1)TheItalianorPetrarchansonnetfallsintotwomainparts:anoctave(eightlines)rhymingabbaabbafollowedbyasestet(sixlines)rhymingcdecdeorsomevariant,suchascdccdc.(2)TheEarlofSurreyandotherEnglishexperimentersinthesixteenthcenturyalsodevelopedastanzaformcalledtheEnglishsonnet,orelsetheShakespeareansonnet,afteritsgreatestpractitioner。ThisverseformwasintroducedintoEnglishpoetrybyWilliamShakespeare，andhasbeeninconstantuseeversince(3)Ode（頌）：OdeisconsistingoftenlinesofmanyofiambicpentameterlinkedbyanintricateRhymeschemesuchasababcdecde.Inpraiseofordedicatedtosomeoneorsomeparticularthing。ItrepresentativeisKeats'sFiveGreatOdesof1819whichincluded\o"OdetoaNightingale"OdetoaNightingale,\o"OdeonMelancholy"Odeon\o"OdeonMelancholy"Melancholy,\o"OdeonaGrecianUrn"OdeonaGrecianUrn,\o"OdetoPsyche"Odeto\o"OdetoPsyche"Psyche,and\o"OdetoAutumn"OdetoAutumn.(4)Blankverse（無(wú)韻詩(shī)）Blankverseis\o"Poetry"poetrywritteninunrhymed\o"Iambicpentameter"iambicpentameter.Ithasbeendescribedas"probablythemostcommonandinfluentialformthatEnglishpoetryhastakensincethesixteenthcentury"and\o"PaulFussell"PaulFussellhasclaimedthat"aboutthree-quartersofallEnglishpoetryisinblankverse."ThefirstdocumenteduseofblankverseintheEnglishlanguagewasby\o"HenryHoward,EarlofSurrey"HenryHoward，andalsoestablisheditasthedominantverseformforEnglish\o"Drama"dramaintheageof\o"ElizabethIofEngland"ElizabethIand\o"JamesIofEngland"JamesI.ThemajorachievementsinEnglishblankverseweremadeby\o"WilliamShakespeare"WilliamShakespeare,whowrotemuchofthecontentofhisplaysinunrhymediambicpentameter,and\o"JohnMilton"Milton,whose\o"ParadiseLost"ParadiseLostiswritteninblankverse。(5)Dramaticmonologue（戲劇獨(dú)白）：1.Asingleperson,whoispatentlynotthepoet,uttersthespeechthatmakesupthewholeofthepoem,inaspecificsituationatacriticalmoment.詩(shī)歌由一個(gè)人的言語(yǔ)構(gòu)成2.Thispersonaddressesandinteractswithoneormoreotherpeople;butweknowoftheauditors'presence,andwhattheysayanddo,onlyfromcluesinthediscourseofthesinglespeaker.有一個(gè)或多個(gè)聽(tīng)眾的存在，但其語(yǔ)言及行為只能有一個(gè)或多個(gè)聽(tīng)眾的存在，從這單個(gè)說(shuō)話人的話語(yǔ)中顯示3.Themainprinciplecontrollingthepoet'schoiceandformulationofwhatthelyricspeakersaysistorevealtothereader,inawaythatenhancesitsinterest,thespeaker'stemperamentandcharacter.說(shuō)話者的話語(yǔ)顯示出其性格(M.H.Abrams)RobertBrowningisusuallycreditedwithperfectingtheform;certainly,Browningisthepoetwho,aboveall,producedhisfinestandmostfamousworkinthisform.WhileMyLastDuchessisthemostfamousofhismonologues,theformdominatedhiswritingcareer.(6)Romanticperiod（浪漫主義時(shí)期）：EnglishRomanticismisgenerallysaidtohavebegunin1798withthepublicationofWordsworthandColeridge’sLyricalBalladsandtohaveendedin1832withSirWalterScott’sdeathandthepassageofthefirstReformBillintheParliament。TheRomanticperiodisanageofpoetry.Blake,Wordsworth,Coleridge,Byron,ShelleyandKeatsarethemajorRomanticpoets.Theystartedarebellionagainsttheneoclassicalliterature,whichwaslaterregardedasthepoeticrevolution.Theyexplorednewtheoriesandinnovatednewtechniquesinpoetrywriting.Theysawpoetryasahealingenergy,thebelievedthatpoetrycouldpurifybothindividualsoulsandthesociety.Wordsworth’stheoryofpoetryiscallingforsimplethemesdrawnfromhumblelife.Hedefinesthepoetasa“manspeakingtomen,”andpoetryas“thespontaneousoverflowofpowerfulfeelings”.(7)Metaphysicalpoets：（形而上學(xué)的詩(shī)人）Themetaphysicalpoetsisatermcoinedbythepoetandcritic\o"SamuelJohnson"SamuelJohnsontodescribealoosegroupof\o"Britishpoetry"British\o"Lyricpoetry"lyricpoetsofthe17thcentury,whosharedaninterestin\o"Metaphysics"metaphysicalconcernsandacommonwayofinvestigatingthem,andwhoseworkwascharacterizedbyinventivenessof\o"Metaphor"metaphor(theseinvolvedcomparisonsbeingknownas\o"Metaphysicalconceit"metaphysicalconceits).Thesepoetswerenotformallyaffiliated;mostofthemdidnotevenknoworreadeachother.Theirpoetrywasinfluencedgreatlybythechangingtimes,newsciencesandthenewfounddebauchedsceneofthe17thcentury。Theirstylewascharacterizedby\o"Wit"witandmetaphysicalconceits—far-fetchedorunusual\o"Similes"similesor\o"Metaphors"metaphors,suchasin\o"AndrewMarvell"AndrewMarvell’scomparisonofthesoulwithadropofdew;inanexpandedepigramformat,withthe